sheep shear leads to wool gathering (of the serious sort)

Back in April, word of a spring sheep shearing nearby (in Florida!) reached my perked ears. Hands hungry for wool and feet inclined to go, I followed the directions given to me, and found myself unexpectedly at an 1840's homestead and festival. Fortunately persons with a drop spindle tucked under her arm were welcomed easily. So happily I sat for two days straight to glean from the people around me, as buttermilk biscuits and potato stew was cooked on a wood stove, water pumped, a log shed built, rope coiled, yarn spun, rag rugs and baskets woven, a native shared edible and medicinal plant lore, and there were even a few sheep sheared. Some of the wool even came home with me. My mind is still churning with it.

Gulf Coast Native Sheep are descendants of 1500s Spanish stock that developed into a tough breed resistant to Southeastern heat and internal parasites. As a result they were a favorite of southern homesteaders. Their heads, legs and bellies are bare to keep cool. They are listed on American Livestock Breeds Conservancy’s conservation's priority list as critical which means there are fewer than 200 annual registrations in the United States and estimated global population less than 5000. These days old lambs just added to that list.

things noted:
-wool can be spun unwashed "in the grease" to make waterproof clothing
-one of the fleeces brought home is from the ewe that recently birthed twins, it's significantly greasier than the ram or the other ewe's
-learned to make cordage from daylily leaves and agave, I later tried Spanish moss
-moss was once used to stuff horsehair furniture, and woven into horseblankets during the Civil War
-spanish moss may have use as a dye material (this is still unconfirmed)
-a woman raised angora rabbits that sat in her lap as she plucked hair and spun it on the wheel
-cotton was largely a cash crop for Florida homesteaders to be sold to the northern industries or exported to Britain . For themselves they raised sheep and flax to make clothing.

Perhaps the most striking bit of information:
Making clothing was a three year affair- the first year after the (up to six) sheep were sheared the wool would be skirted (manure laden bits were thrown in the garden for fertilizer) washed and carded and spun (usually with a drop spindle). The second year it was woven. The third year it was made into clothes and embellished. All the while raw wool was piling up in the attic to be processed in the next cycle.

Clothes had value far beyond what they do today. How many shirts and socks have I thrown away because of a small hole worn in the fabric? How easily would I have abandoned it if I spent three years making it? How did waste apply in the three year cycle? I imagine by the time cloth reached the trash pit it had gone from adult clothing, to children's clothing, to quilts, to patches, to rags, to wicks, to nothing but a few thread bits. How does this knowledge explain the divide between the wearer today and the wearer 150 years ago. We live in a culture of extreme wealth and extreme waste. How do I address this in my own life? My hands tell me to make art that addresses these issues while also taking time to darn my socks. Aren't they so very close to the other?

As I sit in my studio making wool thread I wonder if what I am doing is craft or art. What is my definition of craft vs. art? What are the elements that determine Craft or Art? How have they changed in the last 5, 10, 50, 100 years?

I believe what I do with the thread will determine whether or not it will be categorized under "craft" or "fine art". I am not SlowFood, but SlowArt.
I am drawn to the local, doing everything processes; growing my own cotton and flax, learning the local dye plants, and gathering wool from the area are just a part of it. It is the minimal that forces careful re-observation of the complex.

Today

beforeafterclosersaved, some locks were just too sweet to fuzz.

Baa, Baa black sheep have you any wool?

Three years ago when I lived in the country I managed to wheedle some free wool out of a farmer neighbor, well really all I had to do was ask. The farmer was in fact, also the co-owner of the local hardware store, Reddick Bros., where I would frequently wander about cooing at all the baby chicks, ducks and rabbits and running my hands over ancient farm equipment sold "used" again and again over at least the last eighty years, and before I left would happily purchase the odd ball of twine, handful of rough nails, or once a mysterious old tool that resembled a wooden handled iron with a ridge down the center (I'd later discovered it was a tool for masonry work). On one such trip, knowing the brothers had sheep, I finally gathered the courage to ask if I could purchase some wool. Looking a smidge surprised the brother behind the counter bid me to call his other brother who would likely give me a bit of old wool. After making the proper arrangements, I was show to an open barn where said wool languished on an decrepit Cadillac, both covered in a fine layer of dust, mold and hay. A good country girl and fearless about bugs and dirt, I recklessly filled up and proudly waddled away with three bags full. I imagine the farmer later told his incredulous wife the story of the odd little artist girl who wanted half rotten wool.

A few weeks later I washed a bit of it to spin a bit of clumsy yarn that my ancestors would have scoffed at as an embarrassment, but I still find inordinately pleasing. I'll call it worsted if need be. The rest has been sitting filthy in a shed, forgotten, until "the move" six months ago and had to tote it to my new home, where it has been living on a side porch ever since. A quick inventory reveals about a half a fleece of beautiful brown wool and an entire fleece of yellowish brittle wool, that I am mostly avoiding, I have heard yellow wool dyes well, so maybe it will be indigo or charcoal grey someday. Today I have finally undertaken the task of washing another batch of wool. It's not high quality and hasn't been well taken care of, so it's not good for spinning. If it ever was I wouldn't know, I suspect that the herd of sheep kept by the Reddick brothers is not for wool production, but perhaps they are kept for food, hence the free wool. Whatever the case it seems to felt just fine, which incidentally is exactly what I desire. Washing has been put off for several reasons, one being, to put it lightly, it is a disgusting chore, the fleeces are filled with dirt, bugs, grease, and other "barnyard ephemera." The process is ancient, and it smells of ancient women's tasks and I revel in that despite the filth. My mind wanders. Are these tasks somehow part of our memory, carried out for so many generations, the techniques are so easily lost, but is the essence of it forgotten too? Who washes the Fates wool? Do they spin it directly from mythical sheep, or is our fate spun from our very hair, or is the strand as fine as our dna?

Alas onto technicalities most of us do not remember. . .
My cleaning method is loosely adapted from a few different sites, and I am very inexperienced in cleaning wool, so I suggest if you want a proper instructions don't follow mine. That said, my basic method involves filling a bucket or large metal bowl with hot, hot water in my bathtub (my hot water heater is really hot, so I don't have to bother with boiling water to get it to a good temperature), adding a big squirt of dish washing liquid, then dunking a net bag used for washing lingerie filled with the wool into the bowl. I poke it down with some sort of long utensil because the water is too hot for comfort and then let it soak for 15 or so minutes, I sometimes press the bag down, but don't stir because I don't want felt just yet. When I wash the brown wool the water turns an opaque black, I can see the white bag poking out of the water and then nothing, it's fairly gross. Drain the wool for 10 minutes, then fill up a bowl with fresh water rinse in bowls of clean water first hot, then subsequently cooler, until the water runs clear.
Then it must dry and be carded before anything else, I initially tried "carding" it just by pulling apart locks longways and brushing them with a comb, and that gets most of the leaves and dirt out, but I found it too daunting to do a lot that way, so I saved up for some wool carders, which I'll use on the new batch. Hopefully tomorrow will find me on my porch carding heaps of wool. . .

Sculpture is like farming

image from www.ruthasawa.com

Yesterday I spent the day at the University art library, looking at a few books I want to purchase but haven't actually seen yet. I had forgotten how inspiring it is to sit in that library surrounded by stacks and stacks of art books and just eat up ideas. One of the books I was looking up was this one, about Ruth Asawa. She is an Japanese American who was sixteen during the Japanese internment in World War Two. After studying to be an art teacher and ultimately being denied her Bachelors Degree because they wouldn't risk sending out a Japanese student to intern, she studied under Josef Albers at the Black Mountain College in North Carolina. She later went on to raise six children while producing a large body of artwork, creating public commissions and co-founded the Alvarado School Arts Workshop in San Francisco to provide public art education for children. She is a woman I can respect. She managed it all.

Her matter-a-fact approach to materials, choosing accessible and economical wire, paper or flour and transforming it, is stunning. This resourcefulness begun in her early life on a farm, used in the internment camp and later honed by Albers’ teaching serves her well. The wire sculpture’s organic forms are informed by her experience on her parent’s farm, she says "[we] used to make patterns in the dirt, hanging our feet off the horse-drawn farm equipment. We made endless hourglass figures that I now see as the forms within forms in my crocheted wire sculptures." The technique developed from Mexican basket makers is well suited to her life as a mother. She says "My materials were simple and whenever there was a free moment, I would sit down and do some work. . . . Sculpture is like farming. If you just keep at it, you can get quite a lot done."